Tony McManus

Edinburgh Folk Club

Rob Adams

FOUR STARS

If Tony McManus was asked whether he was travelling for business or pleasure on his re-entry into the UK and if, on answering the former, he gave his occupation as entertainer, the trades descriptions authorities would have no argument. Every item in the Canada-based, Paisley-born guitarist’s repertoire comes with an anecdote or some other mirthful observation/bit of fun.

Pipers pass on tunes to McManus with added interest, such as Pipe Major Bill Livingstone recalling his dad’s admonition to him for milking the Lament for Viscount Dundee’s emotions (“For God’s sake, even grief has a tempo”). Harpers’ claims on tunes result in borders being redrawn and where was McManus going with that apparently absent-minded drift into Stairway to Heaven? Into a slew of alternative versions including Strathspey to Heaven, Miles Davis’s So What Stairway to Heaven, and a particularly cheeky Steve Reich-style interpretation.

McManus hadn’t had the best of journeys over and was clearly needin’ his bed, a factor that really only impacted on the two or three songs he included. His fingers were nothing if not alert, though, as he followed beautifully articulated slow airs with jigs and reels that achieved an uncanny level of melodic fluency driven by hammered-on grace notes and thumb-slapped basslines.

Two departed friends, piper Gordon Duncan and fellow guitarist Isaac Guillory, inspired superb tributes, the former’s Sleeping Tune emerging with warmly rounded, elegiac feeling and the latter’s Desert Dance featuring a brilliant call and response of fretted phrases repeated in harmonics as if two guitarists were involved. With Bach and Satie pieces alongside the traditional tunes, it was a wide-ranging masterclass that McManus is repeating around Scotland this week.